EXT. BROOKLYN STREET - NIGHT CRAIG GILNER (16, handsome, but awkward) glides on his bike toward the Brooklyn Bridge. He is the only one on the streets. A rhythmic beating heart is the only sound we hear. BADOOM BADOOM BADOOM The heartbeat increases in pace as Craig nears the bridge.

INT. RING - ROUND FIVE - LISTON rushes Clay. He knows this is his chance. Cassius tries to tie Liston up by holding onto the back of his neck, but Liston pounds left and right hooks. If anybody wondered if Clay could take punishment, this answers that. WHAM-WHAM- WHAM-WHAM-WHAM...five huge hooks.

GIANCARLO playing doctor in a greasy kitchen apron. Cutting away the clothes. Turning THE MAN on his side. Two bullet wounds in the back. Probing them, judging them. Now -- GIANCARLO with a flashlight in his teeth -- TINK -- TINK -- TINK -- bullet fragments falling into a washed-out olive jar.

EXT. GUARJIRA, COLOMBIA - 1989 - DAY A majestic panorama of the lush green slopes that are the Columbian highlands. A faint chopping sound IS HEARD and then another. WHOOSH. WHOOSH. The view changes and tiny dots appear on the hillside vegetation. WHOOSH. CLOSER We realize the dots are people. Workers swinging long steel machetes in slow methodical rhythm. WHOOSH. WHOOSH.

INT. U.S. CONSULATE BACK STAIRWAY -- DAY BOURNE climbing fast -- two -- three -- stairs at a time -- racing up as a SECURITY ALARM STARTS SCREAMING -- bleet -- bleet -- bleet --

Did you guess right? Good for you.

A word of caution:

Do NOT use sound effects just because you can. Keep in mind that EACH sound effect you include in your descriptions should enhance the overall experience of the Reader.

If you don't do that - and that's the case even if your screenplay format is accurate - your screenplay will end up being a comic book and you will break the Third Commandment of Screenplay Format.

By the way if you like Quizzes, I will reveal the answer to a very puzzling Screenwriting Koan at the end of this article. Check it out.

2. Use Sound To Create an Ambience, a Mood

This is the second main result you can create with sounds.

Let's go back to the opening scene from Shame, screenplay written by Steve McQueen and Abi Morgan as it illustrates this effect perfectly.

The scene is full of sounds and these sounds leave you with the ordinariness of the protagonist environment.

They could have achieved this result with a short series of shots, which would have been the obvious solution. They didn't. They opted for an economy of pictures and used sounds instead, making the scene more impactful, as we can all relate to the sounds described.

By the way, keep noticing the screenplay format while reading, as it will make it easier for you later on when I go through the screenplay formatting guidelines.

INT. BEDROOM. APARTMENT. DAWN. BRANDON SULLIVAN [early 30's] lies staring up caught in a disarray of sheets until- The PEEP PEEP PEEP of an alarm clock, from deep within a distant apartment. The MUFFLED PAD of FOOTSTEPS crossing overhead- BRANDON listens then gets up, pulls blinds and heads out towards the bathroom- The SOUND of his feet disappearing down a distant corridor. The MURMUR of an answer phone as we hear BRANDON peeing, in a far off bathroom.

This is another example of creating an ambience, a mood. This time it is from Bad Lieutenant written by Abel Ferrara and Zoe Lund.

By putting together a collection of familiar sounds, they created a peaceful atmosphere of their protagonist's neighborhood:

The MORNING SOUNDS Of FAMILY BICKERING, LAWN MOWERS, and SHOUTED GOOD-BYES are heard coming from many HOUSES on this close-knit block. A NEW BABY can be heard BAWLING inside LT'S HOUSE.

3. Use Sound To Create a Contrast

Peter Shaffer uses the sound of music to reinforce the contrast between two scenes in his screenplay Amadeus:

Both servants run at the door frantically - once, twice, three times - and the frail lock gives. The door flies open. Immediately, the stormy, frenzied opening of Mozart's SymphonyNo. 25 (the Little G Minor) begins. We see what the servants see. INT. OLD SALIERI'S SALON - NIGHT Old Salieri lies on the floor in a pool of blood, an open razor in his hand. He has cut his throat but is still alive... INT. BALLROOM - NIGHT Twenty-five dancing couples, fifty guests, ten servants, full orchestra. As the music slows a little, we see a Masquerade Ball in progress. A crowded room of dancers is executing the slow portion of a dance fashionable in the early 1820's. EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT As the fast music returns, we see Old Salieri being carried out of his house on a stretcher by two attendants...

For another example of contrast, this time from It‘ss Kind of a Funny Story, click this link.

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Screenplay Format 101 - The Sound Guidelines

Now that you got the difference that sounds can make to your screenplay, let's have a look at a few guidelines in terms of screenplay format.

1. To CAP or Not To CAP, That's The Question

Although the trend is changing and it no more compulsory anymore to CAP important sounds, most screenwriters still do it.

Just don't be surprised if the screenplay format of some screenplays you read does not include any capped sounds anymore.

Generally speaking the following 2 screenplay formatting rules apply to determine if a sound should be capped:

Rule #1: Is the sound ON SCREEN? is the sound VISIBLY CLEAR?

Imagine a scene where we see a dog barking or a neighbor knocking at the door.

In this case, since we see the dog or the neighbor making the sound of barking or knocking, both are considered ON SCREEN or VISIBLY CLEAR and the sound does NOT get capped.

This is an example from No Country For Old Men from the Coen Brothers

CHIGURH I need you to step out of the car, sir. The man opens the door and emerges. MAN Am I...? Chigurh reaches up the man's forehead with the end of the tube connected to the air tank. CHIGURH Would you hold still please, sir. A hard pneumatic sound. The man flops back against the car. Blood tickles from a hole in the middle of his forehead.

Since we see Chigurh with his apparatus, the hard pneumatic sound is ON SCREEN or VISIBLY CLEAR in terms of screenplay format and does NOT get capped

INT. STAGE - LATER MC And this year's Croaker Queen is... The final contestants stand in frenzied anticipation as the MC opens the envelope. MC MISS HELEN SHIVERS! THUNDEROUS APPLAUSE fills the town hall.

INT. CORRIDOR. APARTMENT. DAWN. The answer machine message drowned by the flushing of the toilet, the shutting of the door and the shower being switched on.

However, if the sound affects the scene, the screenplay format is then to CAP the sound.

This is an example from Constantine screenplay written by Kevin Brodbin and Frank A. Cappello

INT. PRISON FOR THE CRIMINALLY INSANE Corridor of ancient stone and steel extends into infinite darkness. Stale air hangs in the dim half-light like atomized ether. There is WHISPERING. And tangled VOICES.

2. What to CAP?

You have determined that a particular sound is important to the narrative. Now, what?

The next step in terms of screenplay format is for you to determine which word(s) you want to CAP.

Depending on the experience you want to leave the Reader with, you may want to emphasize - and therefore CAP:

1. The source of the sound (e.g. THE GUN) or

2. The number of sounds heard (e.g. TWO SHOTS) or

3. The effect of the sound (e.g. the car SHATTERS the door of the phone booth) or

4. A combination of above

3. Where To Show CAPPED Sounds

You have now decided which aspect(s) of the sound you want to cap.

The next step in terms of screenplay format is to determine the importance of the sound.

Two cases:

The sound is important but NOT critical to the scene: The screenplay format is then to include the sound in the description.

Look again at the above mentioned examples of Constantine and I Know What You Did Last Summer to see the application of this screenplay format guideline.

The sound impacts the scene or increases the dramatic tension: Use then what we call in terms of screenplay format a secondary scene heading.

This is an example of I Am Number Four, screenplay written by Alfred Gough & Miles Millar and Marti Noxon using such a secondary scene heading

EXT. JUNGLE - NIGHT The Teen's naked feet pound the hot, wet earth as he sprints through the maze of trees. Flecks of moonlight ricochet off the crystal pendant that dangles around his neck. He moves impossibly fast. Faster than any human could. A MONSTROUS HOWL ECHOES as something otherworldly catches his scent and begins thrashing in pursuit. The Teen's face tightens with dread and the SHOUTS of his pursuers hammer his ears.

4. Test Drive your CAPPED Sounds

The best way to test drive your screenplay format is to look at how your page looks like.

Two things to keep in mind:

The intention of CAPPED words is to enhance the experience of the Reader and get his attention to elements of your screenplay that are important.

If THERE ARE TOO MANY CAPPED WORDS ON YOUR PAGE (like I just did now), you just defeated above intention and the importance of the CAPPED words has been diluted. In such a case, review your page and keep only the CAPPED words that are essential

Each sound effect should be justified and should enhance your description. Failing doing that will turn your screenplay into a comic book.

Review each sound effect and determine if it contributes to your description. If not, leave it out.

Screenplay Format - Special Sound Applications

I just covered the general screenplay format guidelines dealing with sounds.

1. Music and Singing

Music can be a way to reveal important information about a character or a place and can create a mood or atmosphere.

Generally speaking – and for legal reasons - do not mention a particular music in your screenplay unless: 1. this piece of music is essential to the story, 2. you own the rights to the music or these rights are now in the public domain.

Indicate the music genre instead (e.g. ROCK, COUNTRY MUSIC, CLASSICAL MUSIC). The director / composer will take care of finding a fitting piece of music.

This is an example from Jackie Brown, screenplay written by Quentin Tarantino

INT. LOS ANGELES INTERNATIONAL AIRPORT - DAY We hear the rhythm of funky seventies SOUL MUSIC.

If needed, add a description. This is what Harmony Korine did in her screenplay Kids:

As soon as the scene ends, so does the sound of the two having sex. Very fast, very hard-paced music accompanies the credits. The music should be strong enough to maintain the intensity of the scene, Hard-core, Punk.

If a particular piece of music is however required for the story, name the title of the music, like Peter Schaffer did in his screenplay Amadeus:

This is another example, this time from Almost Famous from Cameron Crowe:

INT. BEDROOOM -- NIGHT William locks the door. He reaches under his bed. It's a black leatherette travel bag, with tartan design. He unzips the bag -- it's filled with albums. He flips through the amazing, subversive cache of music. Cream's Wheels of Fire... the seminal Bob Dylan bootleg Great White Wonder... the Rolling Stones' Get Yer Ya Ya's Out... The Beach Boys' Pet Sounds... Abraxas by Santana... Jethro Tull's Stand Up... The Mother's of Invention's We're Only In It For The Money... Led Zeppelin... Crosby, Stills and Nash... Miles Davis' Bitches Brew... and The Who's Tommy...

If you want to include in your screenplay your own song, or a song you imagine for the purpose of your story, then the screenplay format will be the one of a dialogue.

The only - and critical - difference in terms of screenplay format is that you will write each line of the song separately – even if it is less or more than the number of characters that is normally on a dialogue line.

The idea behind this screenplay format practice is to give the reader the experience of the song.

EXT. CENTRAL PARK WEST TERRACE. EARLY EVENING. Ripley is at the piano, accompanying FRAN, a young soprano. FRAN (SINGS) Ah, such fleeting paradise such innocent delight to love, be loved, a lullabye, then silence.

As you can see the screenwriter did not respect the standard screenplay format of a dialogue. If he had done that, it would have looked as follows:

Ah, such fleeting paradise such innocent delight to love, be loved, a lullabye, then silence.

and the reader would not have had the experience of the song.

2. The Sound of Silence

This will sound very paradoxal but you can use silence as a "sound".

In the opening scene of It‘s Kind of a Funny Story, Ryan Fleck & Anna Boden combine the 3 main results you can achieve with sounds as mentioned above and contrasts the accelerating sound effect of a heart beating with a sudden silence.

EXT. BROOKLYN STREET - NIGHT CRAIG GILNER (16, handsome, but awkward) glides on his bike toward the Brooklyn Bridge. He is the only one on the streets. A rhythmic beating heart is the only sound we hear. BADOOM BADOOM BADOOM The heartbeat increases in pace as Craig nears the bridge. EXT. BROOKLYN BRIDGE PEDESTRIAN PATH We float behind Craig as he approaches the bridge’s first tower. Craig is still the only person there. BADOOM BADOOM BADOOM He arrives at the tower, steps off his bike, and looks out over the East River. BADOOM BADOOM BADOOM He climbs up onto a steel girder. Walks to the edge, over the speeding traffic below, then out over the water. BADOOMBADOOMBADOOMBADOOM SILENCE... LYNN (O.S.) Craig!? Craig looks behind him to find his mother

Again notice the screenplay format of the sound effect (BADOOM) and of SILENCE. Both have been CAPPED and are used as a secondary scene heading, as they impact the scene.

This is another example of using silence as contrast. It comes from The Virgin Suicides, written by Sophie Coppola.

NARRATOR (MAN'S VOICE) Cecilia was the first to go. CLOSE ON CECILIA IN SILENCE the still body of a 13-year-old girl floats in pink bath water. She stares past us. CECILIA'S POV: Two PARAMEDICS (one fat, one tall and skinny with a Wyatt Earp mustache) look down at her, mesmerized and frightened by her tranquility. Suddenly we HEAR a woman's SCREAM -- the silence is interrupted as her mother, MRS. LISBON, lunges into the bathroom, reinstating the reality (and sounds) of the room.

There are different ways to write silent scenes in terms of screenplay format.

This is the great advice given by the screenwriter John August on his blog:

Look at your silent scenes from your reader’s perspective, and try to read them without knowing what’s happening next. You’re not nearly as curious what it sounds like as what it feels like to have the sound missing. Write that.

3. The Sound of Arguments

Arguments have specific sounds. Usually loud voices, followed by deadly silences.

In the same way there are specific dialogue techniques you will use to write an argument, like list, trigger, repetition and putting down to name a few, there is also a specific screenplay format to use for interruptions and - by extension - arguments.

If two people react / speak at the same time, the screenplay format will be as follows:

JIM AND JO (simultaneously) What?

or

JIM What did you say? JO (overlapping) What did you say?

or you write the dialogue next to each other:

JIM JO What? What?

This is a great scene of a family dinner and its related argument. It comes from August: Osage County screenplay written by Tracy Letts.

4. Starting Your Screenplay With Sounds

In some cases, you may however choose to start with a defining sound, to create a special effect.

The key to it is that it must be justified. There must be a pay-off in using this technique.

This is an example from Kill Bill, screeenplay written by Quentin Tarantino.

Notice the screenplay format OVER BLACK and WE STAY ON BLACK written as secondary scene headings.

OVER BLACK We hear labored breathing. BLACK FRAME QUOTE APPEARS: QUOTE FADES OUT WE STAY ON BLACK ...breathing continues... Then a MAN'S VOICE talks over the breathing; MAN'S VOICE (O.S.) Do you find me sadistic? CUT TO: BLACK AND WHITE CU of a WOMAN lying on the floor, looking up. The woman on the floor has just taken a severe spaghetti-western-style gang beating. Her face is bloody, beaten up, and torn. The high contrast B/W turning the red blood into black blood.

This is another example. This time from Air Force One screenplay written by Andrew W. Marlowe.

Notice the screenplay format and the skillful use of the various techniques covered in this article (e.g. sound before picture, sound effect and sounds).

FADE TO BLACK The SOUNDS of a dinner banquet. Forks clanking against plates and the din of a hundred conversations, broken by... The DING, DING, DING of a SPOON tapping against a wine glass. SUPER TITLE: "MOSCOW - THREE WEEKS LATER FADE IN: INT. BANQUET ROOM - NIGHT Hundreds of men and women in formal evening wear sit at round banquet tables. A HUSH falls over the guests as the DINGING continues. All attention turns to the front table.

Screenwriting Koan

There is this famous Zen koan which goes, "What is the sound of one hand clapping?"

I take advantage of this article about sounds to reveal the answer to a very puzzling Screenwriting Koan:

What is the sound of a screenwriter announcing his latest screenplay to the world?